Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Albania and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Aaron Thompson to the funk kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sly & The Family Stone. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
Marine Girls,
Lindisfarne,
Main Source,
Tom Boy,
The West Coast Pop Art Experimental Band,
Echo & the Bunnymen,
Boredoms,
The Monks,
John Coltrane,
Jandek,
Al Stewart,
The Litter,
Glambeats Corp.,
Boogie Down Productions,
Notorious BIG live in Amsterdam,
The Skatalites,
Bizarre Inc.,
The Men They Couldn't Hang,
Young Marble Giants,
Joey Negro,
Tropical Tobacco,
Throbbing Gristle,
Shoche,
Robert Görl,
Graham Central Station,
Country Joe & The Fish,
The Moleskins,
The Doors,
Josef K,
Hot Snakes,
Erasure,
Rahsaan Roland Kirk,
Black Bananas,
Barbara Tucker,
Gabor Szabo,
Drive Like Jehu,
Sam Rivers,
Gang Starr,
Procol Harum,
Soft Cell,
Brothers Johnson,
The Mojo Men,
Lakeside,
Sugar Minott,
Nils Olav,
The Fire Engines,
Art Ensemble Of Chicago,
Neu!,
Liaisons Dangereuses,
Matthew Bourne,
Visage,
The Mummies,
The Raincoats,
The Doobie Brothers,
Thinking Fellers Union Local 282,
Andrew Ashong & Theo Parrish,
Can,
Pantytec,
Camron Feat. Memphis Bleek And Beenie Seigel,
Magazine,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.